"Buxtehude's 'Membra Jesu Nostri' Reimagined" program

CSUF SCHOOL OF MUSIC presents

Buxtehude’s Membra Jesu Nostri Reimagined Robert Istad & Kimo Furumoto, directors Ramon Cardenas & Kibsaim Escarcega, conductors In partial fulfillment of the requirements for the degree of Master of Music in Choral Conducting

May 28, 2021

California State University, Fullerton

UNIVERSITY CREDITS Framroze Virjee, President, California State University, Fullerton Carolyn Thomas Provost and Vice President for Academic Affairs Danny C. Kim, Vice President, Administration and Finance/CFO David Forgues, Vice President, Human Resources, Diversity & Inclusion Amir H. Dabirian, Vice President, Information Technology Tonantzin Oseguera, Vice President, Student Affairs Gregory J. Saks, Vice President, University Advancement

C OL L E G E O F T H E AR T S Dale A. Merrill, Dean Arnold Holland, Associate Dean Maricela Alvarado, Assistant Dean Christopher Johnson, Budget Coordinator Heather Guzman, Assistant to the Deans Jade Jewett, Chair, Department of Visual Arts Dave Mickey, Chair, Department of Theatre & Dance Katherine Powers, Director, School of Music Jennifer Frias, Director, Nicholas & Lee Begovich Gallery John Spiak, Director, Grand Central Art Center - Santa Ana Lara Farhadi, Senior Director of Development Ann Steichen, Director of Development Alaidrian Clark, Support Group Coordinator Julie Bussell, Director, Marketing & Patron Services Stephanie Tancredi, Box Office Manager Heather Richards-Siddons Marketing & Communications Specialist Alvin Chiu, Graphic Designer Jason Pano Social Media Strategist

WELCOME Hello, and welcome to the School of Music’s latest streaming presentation. We are so excited to share this performance with you! First, I want to thank all of the students, faculty, and staff who have worked tirelessly to make this possible. As

our college continues to rise to challenges, our performing arts students thrive and deliver some of the most heartfelt and thought-provoking performances of their academic careers. We are demonstrating one thing loud and clear: the arts are active, vibrant, and resilient here at Cal State Fullerton.

Just as the arts continue to adapt and evolve, so are our students. These Titans of the Arts – unwavering in their passion and commitment to their craft – are the reason we do what we do as educators, administrators, and staff. I look forward to seeing theatre, dance, and music students rehearsing throughout the performing arts building, and visual arts students creating in the breezeways and art courtyard once again. It’s so quiet here without them! Until we see each other again face-toface, stay safe and stay strong. We hope you enjoy the show!

Sincerely,

Dale A. Merrill Dean, College of the Arts

Dr. Katherine Powers - School of Music director Bongshin Ko - School of Music assistant director FULL-TIME FACULTY

Theory and Composition Dr. Pamela Madsen - composition, theory Dr. Ken Walicki* - composition, theory

Conducting Kimo Furumoto - instrumental Dr. Robert Istad - choral Dr. Dustin Barr - instrumental Jazz and Commercial Music Bill Cunliffe* - jazz piano; arranging; Fullerton Jazz Orchestra, Fullerton Big Band and combo director Piano, Organ, Piano Pedagogy Ning An - piano Bill Cunliffe - jazz piano Alison Edwards* - piano, piano pedagogy, class piano Dr. Robert Watson - piano Music Education, Teacher Training , and Teaching Credential Dr. Christopher Peterson - choral Dr. Dennis Siebenaler* - general Dr. Gregory X. Whitmore - instrumental

Vocal, Choral, and Opera Dr. Mark Goodrich* - voice, academic voice courses Dr. Robert Istad - University Singers Dr. Christopher Peterson - CSUF Concert Choir and Men’s Chorus conductor Patricia Prunty - voice, academic voice courses Woodwinds, Brass, and Percussion Dr. Dustin Barr - Director of Wind Band Studies; University Wind Symphony Jean Ferrandis - flute Sycil Mathai* - trumpet Håkan Rosengren* - clarinet Dr. Gregory X. Whitmore Symphonic Winds conductor

SCHOOL OF MUSIC STAFF

Music in General Education Dr. Nicole Baker Dr. John Koegel* Katherine Reed

Michael August - Production Manager Eric Dries - Music Librarian

Jeff Lewis - Audio Engineer

Music History and Literature Dr. Nicole Baker - musicology Dr. John Koegel* - musicology Dr. Katherine Reed - musicology

Chris Searight - Musical Instrument Services Paul Shirts - Administrative Assistant Elizabeth Williams - Accountant

Strings Kimo Furumoto - Director of Orchestral Studies Bongshin Ko - cello Dr. Ernest Salem* - violin

Sue Winston - Office Coordinator

* denotes Area Coordinator

facebook.com/CSUFMusic Twitter | @CSUFMusic Instagram | @csufmusic soundcloud.com/csufmusic music.fullerton.edu The School of Music at California State University, Fullerton has been fully and continuously accredited by the National Association of Schools of Music since 1966

Reimagined

PROGRAM University Singers andPROGRAM University Symphony Orchestra Robert Istad and Kimo Furumoto, directors Ramon Cardenas and Kibsaim Escarcega, conductors

Buxtehude’s Membra Jesu Nostri, In partial fulfillment of the requirements for the degree of Reimagined Master of Music in Choral Conducting University Singers and University Symphony Orchestra Robert Istad and Kimo Furumoto, directors Ramon Cardenas and Kibsaim Escarcega, conductors

In partial Prelude: fulfillment Alcun of the requirements for the degree of non mi consigli CLAUDIO MONTEVERDI (1567-1643) Master of Music in Choral Conducting Membra Jesu Nostri

DIETRICH BUXTEHUDE (C. 1637/39-1707) I. Ad Pedes (To the Feet)

Prelude: Alcun non mi consigli Alexandria Burdick, soprano I CLAUDIO MONTEVERDI (1567-1643) Brandi Birdsong, soprano II Jocelyne Ramirez, alto Membra Jesu Nostri Benjamin Glasner, tenor DIETRICH BUXTEHUDE (C. 1637/39-1707) Michael Fagerstedt, I. Ad Pedes (To thebass Feet) CalvinBurdick, Lin, violin I Alexandria soprano I Charlotte Bouck, violin II Brandi Birdsong, soprano II Sean-Paul Gouw, bass Jocelyne Ramirez, alto Benjamin Glasner, tenor Michael Fagerstedt, bass Calvin Lin, violin I Charlotte Bouck, violin II Sean-Paul Gouw, bass

PPROGRAM ROGRAM

From Behind the Caravan ABBIE BETINIS (b. 1980) I. We Have Come

SOPRANO Brandi Birdsong Ayanna Delk-Lewis Frank Espinosa Diana Pinto

ALTO Sierra Farquhar-Wulff Margaret Frost Vanessa Renteria Angelica Romanillos

Calvin Lin, violin Ramon Cardenas, percussion Membra Jesu Nostri

DIETRICH BUXTEHUDE II. Ad Genua (To the Knees)

Diana Pinto, soprano I Angelica Romanillos, soprano II Jacob Hall, alto Yngwie Zamarripa, tenor AJ Stevens, bass Daryuish Khashaya, violin I Jimmy Zhou, violin II Michelle Jung, cello I Hunger and Thirst

ARR. KEVIN SIEGFRIED (b. 1969)

Alexandria Burdick and Adena Bentley, soprano Margaret Frost and Kelly Self, alto Travis Hancock and Yngwie Zamarippa, tenor Marlon Santizo and Michael Segura, bass

PPROGRAM ROGRAM

Membra Jesu Nostri

DIETRICH BUXTEHUDE III. Ad Manus (To the Hands)

Jasmine Powell, soprano I Ayanna Delk-Lewis, soprano II Margaret Frost, alto Sam Miller, tenor Marlon Santizo, bass Calvin Lin, violin I Charlotte Bouck, violin II Sean-Paul Gouw, bass Would You Harbor Me?

YSAŸE M. BARNWELL (b. 1946)

Jasmine Powell, soprano I Brandi Birdsong, soprano II Maricela Navarro, alto I Jacob Hall, alto II Jared Pugh, Benjamin Glasner, and Sam Miller, tenor Michael Fagerstedt, AJ Stevens, and John Delong, bass Membra Jesu Nostri

DIETRICH BUXTEHUDE IV. Ad Latus (To the Sides)

Mai Saito, soprano I Frank Espinosa, soprano II Vanessa Renteria, alto Cameron McKay, tenor Michael Segura, bass Daryuish Khashaya, violin I Jimmy Zhou, violin II Michelle Jung, cello

PPROGRAM ROGRAM

Soon-Ah Will Be Done

ARR. WILLIAM DAWSON (1899-1990)

Membra Jesu Nostri

DIETRICH BUXTEHUDE V. Ad Pectus (To the Breast)

Kelly Self, alto Jared Pugh, tenor Jens Hurty, bass Calvin Lin, violin I Charlotte Bouck, violin II Sean-Paul Gouw, bass Membra Jesu Nostri

DIETRICH BUXTEHUDE VI. Ad Cor (To the Heart)

Diana Pinto, soprano I Sierra Farquhar Wulff, soprano II Haocheng Sun, bass Valerie Jocson, viola I Zoe Lee, viola II Justine Williams, viola III Michelle Jung, cello I Benjamin Her, cello II

PPROGRAM ROGRAM

How Can I Keep from Singing?

MOIRA SMILEY

Mai Saito, soloist Mai Saito, soprano I Ayanna Lewis and Frank Espinosa, soprano II Jocelyne Ramirez and Kibsaim Escarcega, alto Cameron McKay and David Melendez, tenor Jens Hurty, Joshua Musselman, and Haocheng Sun, bass Membra Jesu Nostri

DIETRICH BUXTEHUDE VII. Ad Faciem (To the Face)

Alexandria Burdick, soprano I Jasmine Powell, soprano II Maricella Navarro, alto David Melendez, tenor Jens Hurty, bass Calvin Lin, violin I Charlotte Bouck, violin II Sean-Paul Gouw, bass Unclouded Day

ARR. SHAWN KIRCHNER (b. 1970)

il mio lamento, non me n’adiro, no, non me doglio, no, non me ne pento.

my regrets, I don’t get angry, no, I don’t PROGRAM N Omind, T E S no, I don’t regret it.

Membra Jesu Nostri DIETRICH BUXTEHUDE Dieterich Buxtehude was a Danish organist and composer of the Baroque period. He composed in a wide variety of vocal and instrumental idioms and his musical and progressive style strongly influenced many composers, including his student, J.S. Bach. In his youth, Bach was so keen to study with Buxtehude that he walked hundreds of miles to hear the organ-playing of the revered older musician in the north German city of Lubeck. For Bach, both Buxtehude’s compositions and his playing were a revelation and the meeting had a profound impact on him.

Membra Jesu Nostri is a cycle of seven cantatas composed by Dietrich Buxtehude in 1680. The full Latin title, Membra Jesu nostril patients sanctissima, translates to “The most holy limbs of our suffering Jesus.”

This work is a cycle of seven cantatas and uses stanzas from the Medieval hymn Salve mundi salutare by Bernard de Clairvaux. It is divided into seven cantatas, each addressed to a different part of Jesus Christ’s crucified body: his pierced feet, bent knees, bleeding hands, wounded side, revered breast, loving heart, and thorn-crowned face. Buxtehude combines Clairvaux’s vivid texts with intensely expressive music. The cycle of cantatas were, according to their title page in Buxtehude’s own hand, a personal act of piety and a gift to a “most honored friend” Gustav Düben, cantor at the German Church in Stockholm and capellmeister of the Swedish court.

Each cantata in Membra Jesu Nostri is divided into six sections: an instrumental introduction, a concerto for instruments and five voices, three arias for one or three voices, each followed by an instrumental ritornello; PROGRAM NOTES and an exact reprise of the concerto. (The exception being the fifth and sixth cantatas in which only three voices are used) The first and the last cantata deviate from this pattern. In the first cantata, the choir repeats the first aria after the reprise. In the final cantata, 5 parts sing the last aria and a final Amen.

Under the guidance of the graduate assistants, members of the University Singers selected modern piecespieces to juxtapose with each have selected modern to juxtapose with each cantata. We intended to amplify the power of Buxtehude’s message and connect it with contemporary efforts for peace and justice. We hope the modern works will attach a meaningful commentary to each cantata, and that our maneuvering might reveal the essence of Clairvaux’s mystical text. The complementing works serve to bind the different rhetorical ideas in Buxtehude’s score with a greater concept of human empaempa-thy. empathy.

Abby Betinis’s piecepiece We Have Come is fitting as an introductory piece, thy. Abby Betinis’s We Have Come is fitting as an introductory and also invites the listener to opentotheir toears our message of piece, and also invites the listener openears their to our message of

modern works will attach a meaningful commentary to each cantata, and that our maneuvering might reveal the essence of Clairvaux’s mystical text. The complementing works serve to bind the different rhetorical PROGRAM NOTES ideas in Buxtehude’s score with a greater concept of human empa-thy.

Abby Betinis’s piece We Have Come is fitting as an introductory piece, and also invites the listener to open their ears to our message of kindness and service. Kevin Siegfried’s I Hunger and Thirst follows the cantata Ad Genua (to the knees) as a prayer of humility and invitation to care for others. Ysaÿe Barnwell’s piece Would You Harbor Me offers a thought-provoking inquiry after Ad Manus (to the hands), and challenges the listener to deeply consider any qualification they might place on those they profess to serve. Conversely, William Dawson’s arrangement of Soon Ah’ Will be Done proposes a vision of peace and eternal rest following the piercing sting of Buxtehude’s Ad Latus (to the side). We have chosen to pair Buxtehude’s incredibly intimate and heartfelt cantatas Ad Pectus (to the breast) and Ad Cor (to the heart) because they are so intertwined in message. Smiley’s How Can I Keep From Singing follows this pairing with a reminder that the music we hold close to our hearts is also a balm of comfort. Buxtehude’s final cantata Ad Faciem (to the face) concludes with a joyfully complex and rhythmic coda on the text “amen.”

We programmed Kirchner’s Unclouded Day as our response, and intend it to be a vision of our hope in an eternal “home far beyond the skies.”

We hope the modern commentary we have created will inspire you to consider all people less fortunate. We invite you to join us in a greater effort to encourage justice, love and peace in the world.

PR O G R A M NOTES NOTES PROGRAM Membra Jesu Nostri I. Ad Pedes DIETRICH BUXTEHUDE

I. Ad Pedes

I. To the Feet

Salve mundi salutare, salve, salve Jesu care!

Cruci tuae me aptare vellem vere, tu scis quare, da mihi tui copiam.

Hail, salvation of the world, Hail, hail, dear Jesus!

On Your cross would I hang Truly, You know why Give me Your strength.

Clavos pedum, plagas duras, et tam graves impressuras circumplector cum affectu, tuo pavens in aspectu, tuorum memor vulnerum

The nails in Your feet, the hard blows and so grievous marks I embrace with love, Fearful at the sight of You Mindful of Your wounds.

Dulcis Jesu, pie Deus, Ad te clamo licet reus, praebe mihi te benignum, ne repellas me indignum de tuis sanctis pedibus.

Sweet Jesus, merciful God I cry to You, in my guilt Show me Your grace, Turn me not unworthy away From Your sacred feet.

Salve mundi salutare, salve Jesu care!

Cruci tuae me aptare vellem vere, tu scis quare, da mihi tui copiam.

Hail, salvation of the world, Hail, hail, dear Jesus!

On Your cross would I hang Truly, You know why Give me Your strength.

Ecce super montes pedes evangelizantis et annunciantis pacem

Behold, upon the mountains the feet of one bringing good news and proclaiming peace.

From Behind the Caravan I. We Have Come ABBIE BETINIS The music of Abbie Betinis has been heard in some of the finest concert halls in the United States, and is enjoying growing acclaim abroad.

PROGRAM PR O G R A M NOTES NOTES

Praised for its melodic line and unfolding dramatic impulse, her music also delights audiences with rhythmic vigor and playfulness. A language enthusiast and something of a musical anthropologist, Betinis often delves into ancient and modern texts in hopes of inspiring greater cultural literacy and exchange.

The composer wrote the following introduction to her work Beyond the Caravan: “Johann Wolfgang Goethe once wrote, ‘Only with you, Hafez, do I wish to compete, for the older you get the younger you become. . . And religion is no obstacle, for if the word ‘Islam’ means to submit to God, we all live and die in Islam.’”

“Khwâja Hâfez-e Shirazi was a 14th century mystic poet from Shiraz, Persia (Iran). He wrote over 400 lyric poems, called ghazals, and his mastery of that form remains celebrated today. His writing is based on Sufism, a mystical tradition of Islam which focuses on the personal journey of becoming nearer the Beloved through love, beauty, and ridding one’s heart of material desires. Sufism is associated with many currents of Islam, including both the Sunni and Shi’a sects, and has been practiced since the ninth century, and perhaps much earlier. Rumi (13th c.) is another well-known Sufi mystic poet.”

“In fact, I was fascinated to learn that the symbols of fire and breath are connected. In the first (and fifth) text, Hâfez addresses himself, asking himself to throw off his “kherqe” (his woolen shawl), which is a symbol of outward piety, and to show his true faith by breathing out his despair with the sigh “Ah!” It is said that the “Ah!” is a sign of sincerity, and can burn a hypocrite with the genuine fire of the soul.”

“The music is not at all meant to be authentically Persian, but is my own interpretation of an assortment of influences, including my recent love of Persian poetic meter and form, Middle Eastern musical systems and modes, and perhaps even distant memories of dancing barefoot with my Greek relatives, joyfully and tirelessly, to music that whirled feverishly around us, and – at four years old, with my arms held up to clutch their hands on either side – feeling completely free.”

“The suite is dedicated with great admiration to The Rose Ensemble, who commissioned it, and who premiered it with their characteristic precision and panache on their Candlelight Concert: Mystics, Prophets, Sages & Seers in the spring of 2007.”

Mâ, be-din dar, na pey-e heshmato jâh... âmade-’im; az-bad-e hâdese, ’injâ, be-panâh, âmade-’im.

We, to this door, seeking neither pride nor glory... we have come.

For shelter from ill-fortune, here... we have come.

P RPROGRAM O G R A M NOTES NOTES Rahro-e manzel-e ’eshqimo Traveling along love’s journey, ze sarhadde ’adam, tâ, be-eqlim-e from the borders of nothingness, vojud, in-hame râh... âmade-’im.

Now into states of being, all this way... we have come.

Langar-e helm-e to, ey kashti-ye tofiq, kojâst?

O ship of grace, where is thy anchor of forbearance?

ke, dar in bahr-e karam, qarq-e gonâh... âmade-’im.

For in this ocean of generosity, immersed in sin... we have come.

Hâfez, in kherqe-ye pashmine bi-yandâz, ke mâ az-pe-ye qâfele, bâ-’âtash-e ’âh... âmade-’im!

Hâfez, throw off your woolen kherqe [Sufi cloak], for we, from behind the caravan, with the fire of sighing “ah!”... we have come.

Membra Jesu Nostri II. Ad Genua DIETRICH BUXTEHUDE

II. Ad Genua

II. To the Knees

Ad ubera portabimiani, et super genua blandientur vobis.

His breast You will be brought to His breast and honor Him on bended knees and honor Him on bended knees

Salve Jesu, rex sanctorum, spes votiva peccatorum, crucis ligno tanquam reus,

Hail Jesus, King of Saints Hope of sinners’ prayers, like an offender on the wood of the cross, a man hanging, true God, Bending on failing knees!

pendens homo, verus deus, caducis nutans genibus.

Quid sum tibi responsurus, actu vilis corde durus?

Quid rependam amatori, qui elegit pro me mori, ne dupla morte morerer.

What answer shall I give You, Vile as I am in deed, hard in my heart?

How shall I repay Your love, Who chose to die for me, Unless I die a second death?

P RPROGRAM O G R A M NOTES NOTES Ut te quaeram mente pura, sit haec mea prima cura, non est labor nec gravabor, sed sanabor et mundabor, cum te complexus fuero.

That I may seek You with pure heart, Be my first care It is no labour nor shall I be loaded down; But I shall be cleansed, When I embrace You.

I Hunger and Thirst ARR. KEVIN SIEGFRIED Acclaimed as writing music of “austere beauty” that exhibits the “pressure and presence of personal conviction,” Kevin Siegfried is in demand as a composer of distinctive and engaging musical works. His music was recently described as “hypnotic and beautifully written” by The Boston Musical Intelligencer, and is known for its direct expression, lyricism, and accessibility.

Siegfried is actively involved in the research and performance of early American music and his arrangements of Shaker music have been performed and recorded by choirs across the globe. I Hunger and Thirst is a Shaker Song arranged for a performance at the Maine Festival of American Music. The piece made its premiere at Sabbathday Lake Shaker Village by the Portsmouth Singers directed by Siegfried in 2014. The Shaker song originated in Alfred, Maine in 1837 and this arrangement is based on a version of the tune as sung by Sister R. Mildred Barker. The piece speaks of seeking out righteousness, love, and peace through prayer. The text states, “I never will cease, ‘till my soul’s filled with love,” a powerful line which perhaps serves as encouragement to look for love in every place you go and in every person you encounter.

I hunger and thirst, after true righteousness; In what I’ve obtained, my soul cannot rest.

An ocean I see without bottom or shore, O feed me I’m hungry, enrich me I’m poor.

I will cry unto God, I never will cease, Till my soul’s filled with love, Love, perfect love and sweet peace.

PR O G R A M NOTES NOTES PROGRAM Membra Jesu Nostri III. Ad Manus DIETRICH BUXTEHUDE

III. Ad Manus

III. To the Hands

Salve Jesu, pastor bone, fatigatus in agone, qui per lignum es distractus et ad lignum es compactus expansis sanctis manibus.

Hail, Jesus, good shepherd, wearied in agony, tormented on the cross nailed to the cross Your sacred hands stretched out.

Manus sanctae, vos amplector, et gemendo condelector, grates ago plagis tantis, clavis duris guttis sanctis dans lacrymas cum osculis.

In cruore tuo lotum me commendo tibi totum, tuae sanctae manus istae me defendant, Jesu Christe, extremis in periculis.

Holy hands, I embrace you, and, lamenting, I delight in you, I give thanks for the terrible wounds, the hard nails, the holy drops, shedding tears with kisses.

Washed in Your blood I wholly entrust myself to You; may these holy hands of Yours defend me, Jesus Christ, in the final dangers.

Quid sunt plagae istae in medio manuum tuarum?

What are those wounds in the midst of Your hands?

Would You Harbor Me? YSAŸE M. BARNWELL Dr. Ysaÿe Maria Barnwell is an American singer, composer, and speech pathologist. Barnwell was a member of the African American a cappella ensemble Sweet Honey in the Rock from 1979 to 2013, in which she appeared as a vocalist and instrumentalist on more than thirty recordings. Her training as a “Sing” Language Interpreter led her to facilitate the group’s tradition of including a Sign Language Interpreter in the ensemble.

In addition to writing many of the group’s songs, Barnwell has been commissioned to create music for dance, choral, film, and stage productions. Barnwell has conducted music workshops around the United States, United Kingdom, Canada and Australia, including a workshop

PR O G R A M NOTES NOTES PROGRAM she created called “Building a Vocal Community: Singing in the African American Tradition.”

Barnwell’s powerful and emotional composition brings to the forefront difficult questions that make us deal with something that unfortunately happens all too often all around the world: seeking refuge, in every sense of the word. Most of us find it difficult to imagine what we would do, where we would run in search of a haven, sustenance, security and protection for our children, other loved ones, and ourselves. Yet, we are witness to it everyday. It is in these moments that each of us has a choice– do we do unto others as we would have them do unto us, or do we sit silent and wait for others to respond? Through an almost piercingly repetitive ostinato in the form of a question, this difficult confrontation is exactly what Barnwell wanted us to come to terms with and decide.

Regardless of where we align in this matter, we must ask ourselves: what if it were any one of us… our children… our loved ones? “Would you harbor me? Would I harbor you?”

Would you harbor me?

Would I harbor you?

Would you harbor a Christian, a Muslim, a Jew a heretic, convict or spy?

Would you harbor a runaway woman, or child, a poet, a prophet, a king?

Would you harbor an exile, or a refugee, a person living with AIDS? Would you harbor a Tubman, a Garrett, a Truth a fugitive or a slave?

Would you harbor a Haitian, Korean or Czech, a lesbian or a gay?

Would you harbor me?

Would I harbor you?

PR O G R A M NOTES NOTES PROGRAM Membra Jesu Nostri IV. Ad Latus DIETRICH BUXTEHUDE

IV. Ad Latus

IV. To the Sides

Salve latus salvatoris, in quo latet mel dulcoris,

qui corda lavat sordid.

Hail, side of the Saviour, in which the honey of sweetness is hidden, in which the power of love is exposed, from which gushes the spring of blood that cleans the dirty hearts.

Ecce tibi appropinquo, parce, Jesu, si delinquo, verecunda quidem fronte, ad te tamen veni sponte scrutari tua vulnera.

Lo, I approach You, Pardon, Jesus, if I sin, With reverent countenance freely I come to You to behold Your wounds.

Hora mortis meus flatus intret, Jesu, tuum latus, hinc expirans in te vadat, ne hunc leo trux invadat, sed apud te permaneat.

In the hour of death, may my soul Enter, Jesus, Your side Hence dying may it go into You, Lest the cruel lion seize it, But let it dwell with You.

Surge, amica mea, speciosa mea, et veni, columba mea inforaminibus petrae, in caverna maceriae.

in quo patet vis amoris, ex quo scatet fons cruoris,

Arise, my love, my beautiful one, and come, my dove in the clefts of the rock, in the hollow of the cliff.

Soon-Ah Will Be Done ARR. WILLIAM DAWSON African American composer, performer, and music educator William Dawson used the rich vitality of his musical heritage as a basis for all types of music, including arrangements of folk songs and original compositions. In 1931 Dawson became director of the School of Music at Tuskegee. From 1932 to 1933 Dawson conducted the institute’s 100-voice a cappella choir in a month’s engagement at the opening of the International Music Hall of Radio City, and in concerts at Carnegie

P RPROGRAM O G R A M NOTES NOTES Hall, New York City, the White House, and another at Constitution Hall, both Washington, D.C., and in a series of national and international broadcasts.

Soon-Ah Will Be Done is an African American spiritual that serves almost as a prayer of hope for a better day. The somber text depicts the perspective of an African American slave, who understands they might only experience release from enslavement and torture in the afterlife.

The text imagines a day in which they will step away from the troubles of the world into eternal peace. Spirituals were often sung by African American slave communities to convey sorrow, comfort friends, and pray for hope. Dawson beautifully captures the anguish and hopelessness experienced by enslaved peoples in America, and it is our hope that through our performance, we might be able to convey the power behind the text. Dawson purposefully composed Soon-Ah Will Be Done in the original dialect. We choose to uphold the legacy of the African American Spiritual by honoring performance practice and singing Dawson’s piece with proper dialect. For more information about the proper use of dialect in performances of African American Spirituals, please see the following comments from Dr. Andre Thomas, a distinguished composer and conductor and a scholarly authority on African American Spirituals.

“Of all the arrangers, Dawson may have been the most extensive in his use of dialect. While it may appear at first overdone, with a few exceptions his indications are just as I would perform it, as they reflect common usage. That’s certainly the case with the shift from I will to Ah will. The shift from with to wid is also another common change.”

We stand in solidarity with those fighting for access, diversity, equity and inclusion for black communities. Music has the power to change lives and through our performance, we hope we can continue to raise awareness of systemic racism in America.

Soon ah will be don’ a-wid de troubles ob de worl’, Goin’ home t’ live wid God. I wan’ t’ meet my mother, I’m goin’ t’ live wid God.

PR O G R A M NOTES NOTES PROGRAM No more weepin’ an’ a-wailin’ I’m goin’ t’ live wid God. I wan’ t’ meet my Jesus, I’m goin’ t’ live wid God. Membra Jesu Nostri V. Ad Pectus DIETRICH BUXTEHUDE

V. Ad Pectus

V. To the Breast

Si tamen gustatis, quoniam dulcis est Dominus.

long for the guileless milk of reason, that by it you may grow into salvation, If indeed you have tasted that the Lord is good.

Salve, salus mea, Deus, Jesu dulcis, amor meus, salve, pectus reverendum, cum tremore contingendum, amoris domicilium.

Hail God, my salvation, sweet Jesus, my beloved, hail, breast to be revered, to be touched with trembling, dwelling of love.

Pectus mihi confer mundum, ardens, pium, gemebundum, voluntatem abnegatam, tibi semper conformatam, juncta virtutum copia.

Give me a clean breast, ardent, pious, moaning, an abnegated will, always conforming to You, with an abundance of virtues.

Ave, verum templum Dei, precor miserere mei, tu totius arca boni, fac electis me apponi, vas dives Deus omnium

Hail, true temple of God, I pray, have mercy on me, You, the ark of all that is good, make me be placed with the chosen, rich vessel, God of all.

Sicut modo geniti infantes rationabiles, et sine dolo concupiscite, ut in eo crescatis in salutem.

Like newborn infants,

P RPROGRAM O G R A M NOTES NOTES Membra Jesu Nostri VI. Ad Cor DIETRICH BUXTEHUDE

VI. Ad Cor

VI. To the Heart

Summi regis cor, aveto, te saluto corde laeto, te complecti me delectat et hoc meum cor affectat, ut ad te loquar, animes.

Heart of the highest king, I greet You, I salute You with a joyous heart, it delights me to embrace You and my heart aspires to this: that You move me to speak to You.

Per medullam cordis mei, peccatoris atque rei, tuus amor transferatur, quo cor tuum rapiatur languens amoris vulnere.

Through the marrow of my heart, of a sinner and culprit, may Your love be conveyed by whom Your heart was seized, languishing through the wound of love.

Viva cordis voce clamo,

I call with the living voice of the heart, sweet heart, for I love You, to incline to my heart, so that it may commit itself to you in the breast devoted to You.

Vulnerasti cor meum, soror mea, sponsa, vulnerasti cor meum.

dulce cor, te namque amo, ad cor meum inclinare, ut se possit applicare devoto tibi pectore.

You have wounded my heart, my sister, my bride, You have wounded my heart.

How Can I Keep from Singing?

MOIRA SMILEY Performer, composer, teacher and song-collector Moira Smiley has sung in arenas, cathedrals, kitchens, back porches, sound stages, and on glaciers. She’s performed with the likes of Ladysmith Black Mambazo, Tune-Yards, Tim O’Brien, Eric Whitacre, Los Angeles Master Chorale, New World Symphony, Solas, and The Lyris String Quartet. Moira’s original compositions, choral arrangements, and folk music are being sung by millions of voices around the world today.

PR O G R A M NOTES NOTES PROGRAM As a performer, Smiley has traveled the world creating new works for voices and accompanying her performances with her banjo, accordion, piano, and percussive movement. Her recordings feature spare, vocally-driven collections of warped traditional songs and original polyphony.

Written by American Baptist minister Tobert Wadsworth Lowry in 1860, the traditional hymn “How Can I Keep from Singing?” speaks to the necessity of singing through the toils and triumphs in life: the raging storm, the rounding tempest, the darkness, as well as the flows of life, reigning love, and the tolling of time. Smiley’s arrangement takes this hymn’s archetypal and timeless structure and text, and creates a sonic landscape that captures its enormous, soulful appeal by surrounding it with fragments of the Appalachian sound: the swirl of repeated motives, “oh sing!” are as fragments of ornamentation that the composer has heard Appalachian traditional singers use in ballands and dance songs.

Thus, the entire piece is encompassed by these swirling motives as different sections sing through the melody until the very end, appropriately ending with the blissful realization of life’s wonders, that make us sing: “How can I keep from singing?”

Membra Jesu Nostri VII. Ad Faciem DIETRICH BUXTEHUDE

VII. Ad Faciem

VII. To the Face

Salve, caput cruentatum, totum spinis coronatum, conquassatum, vulneratum, arundine verberatum facie sputis illita.

Hail, bloodied head, All crowned with thorns, Beaten, wounded, Struck with a cane, The face soiled with spit.

Dum me mori est necesse, noli mihi tunc deesse, in tremenda mortis hora veni, Jesu, absque mora, tuere me et libera.

When I must die, Do not then be away from me, In the anxious hour of death Come, Jesus, without delay, Protect me and set me free!

Illustra faciem tuam super servum tuum, salvum me fac in misericordia tua.

Let Your face shine upon Your servant, save me in Your mercy.

PR O G R A M NOTES NOTES PROGRAM Cum me jubes emigrare, Jesu care, tunc appare, o amator amplectende, temet ipsum tunc ostende in cruce salutifera.

When you command me to depart, Dear Jesus, then appear, O lover to be embraced, Then show Yourself On the cross that brings salvation.

Amen

Amen

Unclouded Day ARR. SHAWN KIRCHNER Shawn Kirchner is a composer and songwriter active in the musical circles of Los Angeles. His choral compositions are performed throughout the United States and abroad in concert halls, churches, schools, and on radio, television (and YouTube!).

Unclouded Day is the first movement of Heavenly Home: Three American Songs. The arrangement derives from a 19th century gospel hymn written by Rev. Josia K. Alwood. Kirchner’s piece, loved by singers and audiences, is influenced by bluegrass melodies and harmonies.

The piece sets the tone for the rest of the work speaking of a beautiful, unclouded day, painting vignettes of gold cities, a King in His throne, and the tree of life. Heavenly Home: Three American Songs was premiered by the Los Angeles Master Chorale in May 2010 at the Walt Disney Concert Hall, conducted by Grant Gershon.

O they tell me of a home far beyond the skies, They tell me of a home faraway, And they tell me of a home where no storm clouds rise: O they tell me of an unclouded day.

O the land of cloudless days, O the land of an unclouded sky, O they tell me of a home where no storm clouds rise: O they tell me of an unclouded day.

PR O G R A M NOTES NOTES PROGRAM O they tell me of a home where my friends have gone, They tell me of a land far away, Where the tree of life in eternal bloom Sheds its fragrance through the unclouded day.

They tell me of a King in his beauty there, They tell me that mine eyes shall behold, Where he sits on a throne that is bright as the sun, In the city that is made of gold.

U NUNIVERSITY I V E R S I T Y SINGERS SINGERS Robert Istad, conductor Grant Rohr, accompanist Ramon Cardenas and Kibsaim Escarcega, graduate assistants Soprano 1 Alexandria Burdick Diana Pinto Jasmine Powell Mai Saito

Tenor 1 Kibsaim Escarcega Travis Hancock Sam Miller Yngwie Zamarippa

Soprano 2 Adena Bentley Brandi Birdsong Ayanna Delk Lewis Frank Espinosa

Tenor 2 Benjamin Glasner Cameron McKay David Melendez Jared Pugh

Alto 1 Sierra Farquhar-Wulff Margaret Frost Jocelyne Ramirez Angelica Romanillos

Bass 1 Ramon Cardenas John De Long Marlon Santizo AJ Stevens

Alto 2 Jacob Hall Maricela Navarro Vanessa Renteria Kelly Self

Bass 2 Michael Fagerstedt Jens Hurty Joshua Mussellman Michael Segura Haocheng Sun

U N IUNIVERSITY V E R S I T Y SSYMPHONY Y M P H O N YORCHESTRA ORCHESTRA University Symphony Orchestra Kimo Furumoto, conductor Violin I Daryuish Khashaya Calvin Lin Violin II Charlotte Bouck Jimmy Zhou Viola Valerie Jocson Zoe Lee Justine Williams Cello Benjamin Her Michelle Jung Bass Sean-Paul Gouw

G RGRADUATING A D U A T I N G STUDENTS STUDENTS We congratulate the remarkable students that have graduated this academic year: Brandi Birdsong • B.M. Vocal Performance Ramon Cardenas • M.M. Choral Conducting Alexandria Burdick • B.M. Vocal Performance Ayanna Delk-Lewis • B.A. Music, Music Education John De Long • B.M. Vocal Performance Kibsaim Escarcega • M.M. Choral Conducting Frank Espinosa • B.M. Vocal Performance Michael Fagerstedt • B.M. Vocal Performance Margaret Frost • B.A. Music, Music Education Travis Hancock • B.A. Music, Liberal Arts Cameron McKay • B.A. Music, Music Education Diana Pinto • B.A. Music, Liberal Arts/American Studies Jasmine Powell • B.M. Vocal Performance Jocelyne Ramirez • B.A. Music, Music Education Vanessa Angel Renteria • B.A. Music, Music Education Angelica Romanillos • B.A. Music, Liberal Arts AJ Stevens • B.A. Music, Music Education

Go

A BABOUT O U T TTHE H E DIRECTORS DIRECTORS

ROBERT ISTAD Robert Istad is Artistic Director of Pacific Chorale and Director of Choral Studies at California State University, Fullerton. He regularly conducts and collaborates with Pacific Chorale, Pacific Symphony Orchestra, Musica Angelica Baroque Orchestra, Sony Classical Records, Yarlung Records, Berkshire Choral International, and Long Beach Symphony Orchestra. He is also Dean of Chorus America’s national Academy for Conductors.

Istad has prepared choruses for a number of America’s finest conductors and orchestras, including: Gustavo Dudamel and the Los Angeles Philharmonic, Carl St.Clair and the Pacific Symphony Orchestra, as well as conductors Esa–Pekka Salonen, Keith Lockhart, and Nicholas McGegan.

Istad is also Professor of Music and Director of Choral Studies at California State University, Fullerton. He was recognized as CSUF’s 2016 Outstanding Professor of the Year. At CSU Fullerton, Istad conducts the University Singers and Women’s Choir in addition to teaching courses in conducting, performance practice and literature. Recently, he and the University Singers performed with the Los Angeles Philharmonic, Pacific Symphony Orchestra, Andrea Bocelli, Kathleen Battle, recorded albums with Yarlung Records and with composer John Williams and Sony Classical.

Istad and his singers performed a concert of Tarik O’Regan’s music for Distinguished Concerts International New York at Carnegie Hall in November 2015. They have performed at numerous regional and national ACDA conferences including the 2018 ACDA Western Division Conference. He and the CSUF University Singers have performed all over the world, including a 2017 performance in Russia’s famous Glinka Cappella, a 2015 residency and performances in Paris, France, engagements at the 2012 Ottobeuren Festival of Music in Germany, the 2012 Eingen Festival of music in Germany, a 2010 performance for UNESCO in Pisa, Italy, and in 2008 at the Liszt Academy of Music in Budapest, Hungary.

Istad received his Bachelor of Arts degree in music from Augustana College in Rock Island, Illinois, his Master of Music degree in choral conducting from California State University, Fullerton, and his Doctor of Musical Arts degree in choral music at the University of Southern California. He studied conducting with Dr. William Dehning, John Alexander, and Dr. Jon Hurty.

Istad is Vice-President of the California Choral Director’s Association, and is in demand as an adjudicator, guest conductor, speaker, and clinician throughout the nation.

A BABOUT O U T TTHE H E DIRECTORS DIRECTORS

KIMO FURUMOTO Kimo Furumoto, in addition to his duties at Cal State Fullerton, continues as music director and conductor of the Huntington Symphony Orchestra in West Virginia. In 2009 he was named conductor of the Rio Hondo Symphony Orchestra (Whittier, California). He has served as the assistant conductor of the Lyric Mountain Festival for the Performing Arts, and has guest conducted numerous regional orchestras including the Cincinnati Chamber Orchestra, the Central Ohio Symphony Orchestra, and the River Cities Symphony Orchestra. His international conducting debut was with the Kurpfälzisches Kammerorchester of Mannheim, Germany.

Furumoto was orchestra director on the faculties of Ohio University and the University of Cincinnati, CollegeConservatory of Music and conducted the Philharmonia Orchestra at the critically acclaimed Mass-in-Concert series held in New York’s Lincoln Center.

After a one-year position as conducting assistant with the Cincinnati Symphony Orchestra, he served as associate conductor of the Cincinnati Symphony Youth Orchestra and assistant conductor of the Cincinnati Chamber Orchestra under the direction of Keith Lockhart.

Furumoto holds conducting degrees from Chapman University and the University of Cincinnati, College Conservatory of Music, and has studied conducting under Leonard Bernstein, Robert Shaw, Gerhard Samuel, and John Koshak.

CONDUCTORS A B ABOUT O U T T THE HE C ONDUCTORS

RAMON CARDENAS Ramon Cardenas is finishing his third and final year at CSUF. A Southern California native, Ramon taught at Redlands East Valley High School in Redlands, California for four years. His choirs have scored superior rankings at numerous festivals and competitions. He also prepared his choruses to sing for Eric Whitacre and Avi Kaplan, formerly from Pentatonix.

He formerly served as Director of Choral Activities at Buena Park High School, Director of Music Ministries at Northminster Presbyterian Church of Diamond Bar, and Choir Director at First Congregational Church of Riverside.

Ramon received his Bachelor of Music degree in music education and his Master of Arts degree in teaching from Biola University in La Mirada, California, and his Master of Music degree in choral conducting from California State University, Fullerton.

He studied conducting with Dr. Robert Istad, Dr. Shawna Stewart, and Tammi

Alderman. Ramon has sung in choirs directed by John Williams, Carl St. Clair, Dr. Robert Istad, Dr. Christopher Peterson, Dr. Shawna Stewart and Dr. Brandon Elliott.

While at Cal State Fullerton, he worked as Graduate Assistant Conductor for the Singing Titans (formally Men’s Choir), University Singers, and CSUF’s Opera Workshop.

He is the recipient of the 2020 Elliot and Kathleen Alexander Memorial Scholarship for outstanding choral conducting.

When Ramon is not conducting, he is an active vocalist and pianist, teaches voice and piano privately, and maintains an active schedule as a chorus member across Southern California, where he has sung in venues including Segerstrom Center of the Arts, Microsoft Theater, and the Hollywood Bowl.

Ramon has a passion for teaching and is looking forward to pursuing his Ph.D. at Florida State University next school year.

A B ABOUT O U T TTHE H E CONDUCTORS CONDUCTORS

KIBSAIM ESCARCEGA Kibsaim Escarcega is currently in his third and final year of his graduate degree in choral conducting at CSU Fullerton. Born and raised in Los Angeles, Kibsaim continues to be an active member of the choral community in Southern California as both a singer and conductor.

Kibsaim received his Bachelor of Music degree in Vocal Performance from the University of California, Irvine, and his Master of Music degree in choral conducting from California State University, Fullerton. He studied voice with Dr. Darryl Taylor and conducting with Dr. Seth Houston, Dr. Stephen Tucker, Dr. Robert Istad, and Kimo Furumoto.

While at UC Irvine, Kibsaim served as conductor for UCI’s Concert Choir,

BATS choir, assistant conductor for the Chamber Singers, and as chorus master for numerous UCI opera productions.

As a graduate student at CSUF, Kibsaim served as the Graduate Assistant Conductor for Women’s Choir (now Titan Voices), Concert Choir, Opera Theatre, and University Singers. He is also the inaugural recipient of the John Alexander Scholarship for Graduate Choral Conducting, a full tuition scholarship.

Kibsaim plans to lead more choirs, pursue his DMA in conducting, and continue to work and make music with many more chorus ensembles in the future.

California State University, Fullerton • College of the Arts

DONOR APPLAUSE

The College of the Arts extends its heartfelt gratitude to the following patrons who have supported our students and programs this past year through a generous gift of $1,000 or more to the College, the School of Music, Department of Theatre & Dance, and/or the Department of Visual Arts.** $50,000+ Anonymous Lori & John Loftus MAMM Alliance Music Associates Dwight Richard Odle Estate Orange County Community Foundation $25,000+ Art Alliance Lee C. Begovich Johnny Carson Foundation Leo Freedman Foundation Mary A. Lyons Alan A. Mannason Estate Terri & Bob Niccum Frank J. & Jean Raymond Andrea J. & Jeffrey E. Sward $10,000+ Affordable Housing Access Inc. Anonymous Brite Ideas, Inc. California Bank & Trust Marilyn Carlson Darryl Curran Friends of Jazz, Inc Michael Horn Isabel G. James Robin & Steve Kalota Morningside of Fullerton Eleanore & James L. Monroe Ann & Douglas Myles Dr. Katherine S. Powers & Håkan O. Rosengren Christine A. Rhoades Mary & William Sampson Ann & Thad Sandford Donna L. & Ernest W. Schroeder Sue & Dr. Edward A. Sullivan Dr. Marc R. Dickey $5,000+ Daniel Barsky Terry D. Ching Jones Edward

MaryLouise & Ed Hlavac Ellen M. & William A. Groves Karen & Todd Miller Nancy J. & Robert F. Rennie Jeanie Stockwell OC Alumni Assoc Phi Mu Alpha Sinfonia $1,000+ Barbara Arms Drs. Voiza & Joseph Arnold Judy Atwell Lois Austin Katherine M. & David J. Baab Tanya Michnevich Bracco Janet & Allan Bridgford Jane & Vincent Buck Julia A. Christy Harriet & William S. Cornyn Wanda Lau & William H. Cunliffe Jane Deming Fund Susan & Richard Dolnick Lisa M. Draskovich-Long Lucetta A. Dunn Shawna & Greg Ellis Desiree Engel John R. Fisher Jacquelyn Garrabrant Annette L. & Leon J. Gilbert Dr. Mark J. Goodrich Barbara Gregory Jill & Christopher Gwaltney Theresa Harvey Bruce A. Healey James L. Henriques Dr. Dean W. Hess Patricia J. Hicks Frank A. Hinojoz Adleane & Dr. Jerome Hunter Beth & Robert Jahncke Catherine Jeckovich Michelle Jordan Sandy & Norm Johnson Joven Orozco Gretchen Kanne Gladys M. Kares Ray Kawase Barbara Kingsbury

Meredith Kleinman Eugene Laroff Marilyn Little John M. Martelli & Paul Coluzzi Karen & George Mast Irene & Mac McCormick Thelma & Earl Mellott Patricia & Carl Miller Mary E. Moore Norma Morris Lucina Moses Music Teachers’ Association of California Ujinobu Niwa Debra L. Noble Jill Kurti Norman Deanna & Arie Passchier Geoffrey S. Payne Kerry and John Phelps Phi Mu Alpha SinfoniaOmicron Pi Chapter The Presser Foundation Sharon & Dr. Anil K. Puri Mary & Jerry Reinhart Robin Riggle Dr. Stephen M. Rochford Sandra Rhone Cassandra Sanders-Holly Ann & Thad Sandford Jim & Lahoma Schulze D. Barry Schmitt Merle Sepel-Wagner Louise Shamblen Martha & Bill Shaver John Short Ingrid R. Shutkin Janet L. Smith Dodo V. Standring Douglas G. Stewart Elizabeth G. Stiles Dale Raoul & Raymond L. Thompson Tom & Carolyn Toby Tam T. Tran John Van Wey Verne Wagner Debra Winters Abel A. Zeballos Dr. Wayne Zemke

Very special care has been given to the preparation of this donor listing.

Please contact Ann Steichen at (657) 278-7124 with questions or concerns. **Gifts received from July 1, 2019 through October 2020

ONTIVEROS SOCIETY The Ontiveros Society includes individuals who have provided a gift for Cal State Fullerton through their estate plan. Our deep appreciation is extended to the following Ontiveros Society members, whose gifts will benefit the students and mission of the College of the Arts: Anonymous Lee & Dr. Nicholas A. Begovich* Gail & Michael Cochran Marc R. Dickey Betty Everett Carol J. Geisbauer & John Geisbauer* Sophia & Charles Gray MaryLouise & Ed Hlavac Gretchen Kanne

Dr. Burton L. Karson Anne L. Kruzic* Loreen & John Loftus Alan A. Mannason* William J. McGarvey* Dr. Sallie Mitchell Eleanore P. & James L. Monroe Lynn & Robert Myers Dwight Richard Odle*

Sherry & Dr. Gordon Paine Dr. June Pollak & Mr. George Pollak* Mary K. & William Sampson Douglas G. Stewart Andrea J. & Jeffrey E. Sward Richard J. Taylor Verne Wagner Richard Wulff Dr. James D. & Dottie Young*

The College of the Arts Proudly Recognizes the 300+ Members of Our

VOLUNTEER SUPPORT GROUPS

ART ALLIANCE: Art Alliance promotes excellence and enjoyment in the visual arts, and their fundraising efforts contribute to student scholarship, gallery exhibitions, opening receptions and sculpture acquisition on campus.

Special support and event underwriting Fay Colmar & Vincent Preece* John DeLoof

Joann Driggers & Steve Collier Loraine Walkington

MAMM ALLIANCE: The MAMM Alliance for the Performing Arts unites like-minded members who enjoy fun and fellowship, while benefiting the students through underwriting visiting artists, special theatre, dance and music performances, and other unique experiences.

Special support and event underwriting Judy Atwell Drs. Voiza & Joe Arnold Ebell Club of Fullerton

Dr. Margaret Faulwell Gordon Norma Morris Richard Odle Estate

Kerry & John Phelps Jeanie Stockwell Verne Wagner

MUSIC ASSOCIATES: Music Associates maintains a tradition of active involvement and community support, and raises scholarship funds for School of Music students through annual fundraising events and membership dues.

Special support and event underwriting Marilyn & Jack Carlson* Evelyn K. Francuz Sandy & Norm Johnson Marti & Bill Kurschat Karen & George Mast

Thelma & Earl Mellott Bettina Murphy Grace & Ujinobu Niwa Kerry & John Phelps Mary & Jerry Reinhart

Ann & Thad Sandford Dodo V. Standring Carolyn & Tom Toby John Van Wey

MORE INFORMATION: Ann Steichen • 657-278-7124 There are many ways to support the College of the Arts, the School of Music, Department of Theatre and Dance, and Department of Visual Arts: Student Scholarships Unrestricted Gifts Designated Gifts

Endowment Support Planned Giving

Support Group membership Dean’s Fund for Excellence

GET INVOLVED GIVING.FULLERTON.EDU

music.fullerton.edu